Excerpted from an unfinished (much longer, this age was written around October last year) essay on this film, will likely be rewritten in full if ever published in a proper capacity, but I like this section enough to want it standing by itself. I love all my friends.
“The sound is in the pure light, and not in the light of the image.”
“The lengths of black and white. And, the fade-outs and fade-ins.”
Excerpt from AEI! Gregory J. Markopoulos,…
When thinking of Work Done, I’m struck by the self-contained nature of the sequences in the original version of the film, which ends up acting much closer to Early Monthly Segments (there’s something to be said about how each segment is a study in itself, and how that informs the way we are to look at that film), in that, in its juvenility it struggles to find a continuous rhythm how the later cut does. If you’re to use the…
As Falten is a film of fabrics, Instants is a film of paper and gesture. Where Falten cuts between the productions of fabric and nature, Instants supplants gesture and paper into the position fabric once held. In both cases this roots the subject of the film in a truth, the impossibility of the removal of art and man from nature. It can be easy to think of poetry as above nature and reserved to a metaphysic, however, one of the…
This review may contain spoilers. I can handle the truth.
Prefigures the ending of Fort Apache and the transference of historical baggage through the name of a child, but where it expands (and perfects, despite predating), is in the images surrounding the intertitles. After the conclusion of the final gunfight, “the west was won”, images of the “harvests of golden grain”, a baby climbing over a gun to the smiles of approving parents, the ghosts of the west riding arm in arm.
What horror that a baby suffers the fate of Marty Maher!
